Mette Ingvartsen creates a universe in which people, technology and organic matter coexist to create an abstract set of movements. Inspired by how bodies are sensorially affected by the digital, the performance explores a poetics of plasticity, abstraction and imagination. Through light, shadow and reflection, the nine dancers open an enchanting landscape that you can enter as a viewer.

Vera Tussing invites the string quartet Quatuor MP4 to join four dancers onstage for a playful encounter between movement and sound. At the point where the orbits of dance and music intersect, you are invited to enter the kaleidoscopic score. Lend a hand, or an arm!

Michiel Vandevelde goes in search of traces of the legacy of May ’68, along with a new generation of young people. Will they open new perspectives on the future when they research half a century of history in a wild choreography of iconic images?

Radouan Mriziga finds inspiration in an old love: rap music. Along with seven young performers, he researched everything that makes rap unique: the rhythm, the flow, the statements and gestures, and its history from the grandmasters to Kendrick Lamar. They attempt to capture the essence of a style of music that transcends musical trends and survives across generations – and which constantly reinvents itself.

Dancer and choreographer Tomas Ntamashimikiro will teach you hip hop grooves and social dances. You will learn new insights into hip hop culture and viscerally discover what makes dance so infectious. Put on your best dancing clothes and come and groove with us! Everyone is welcome irrespective of hip hop experience.

Three performers spend three quarters of an hour turning around their own axis – a movement that in Sufi ceremonies is thought to lead to religious euphoria. In Miet Warlop’s version, it becomes an experiment on the fine line between maintaining and losing control. It is a combination of swirling dance, recital and concert. How can you find a balance between self-control and devotion?

Water Will (in Melody) is a devised choreographic work for four performers that uses melodrama as a point of departure. Wrestling with language and notions of ‘the will’, this dystopian fantasy becomes a space for negotiating desire, imagination, and feelings of an encroaching end.

Almost ten years after Zeitung (2008), Anne Teresa De Keersmaeker and Alain Franco used the building blocks of that production to make a new one: Zeitigung. Against the backdrop of a changing world and channelled through the bodies of eight young dancers, they updated their own work. Zeitigung is returning to the Kaaitheater stage, where it premièred in 2017.

Why is it important to cast a spotlight on the marginalized history of feminism in Romania and Eastern Europe? And what might this mean for our collective, historical consciousness With a collage of feminist voices, artistic gestures, historical avant-garde, and traditional songs, Eszter Salamon focuses on Romanian histories.

Achterland (1990) is a seminal choreography in Anne Teresa De Keersmaeker’s oeuvre. The minimalism and prevalent femininity of Rosas’ early pieces gave way to an ambiguous no-man’s-land in which boundaries and symbols were blurred. Last season, the reprise of Achterland starring a new generation of Rosas dancers made a tremendous impression: don’t miss this opportunity to see it again.

On a stage covered with a thick layer of earth and bathed in light stand fourteen dancers – all different in age and dance background. Movements flow from one body to the next, gradually building to a wild climax. The result is a tactile experience that shares loneliness with fiction: how is it that you can be alone even when you’re in a group?

Does gender have a voice, does skin have a race? Using drag, vogueing, striptease, YouTube tutorials as well as the triadic ballet by Oskar Schlemmer, seven bodies and many more objects try out new constellations, like surrealist ready-mades. With a great sense of irony, Escape Act presents hyper-stereotyped gender identities, only to deconstruct them completely.

1974, Zaire. In the Fight of the Century, Muhammad Ali defeated George Foreman. Mobutu Sese Seko founded the National Ballet of Zaire. Fast forward to 2019. Faustin Linyekula has created a production in which he reflects on key moments in the history of theatre. Along with three members of the Congolese National Ballet and actors Papy Maurice Mbwiti and Oscar van Rompay, he explores what the young Congolese state could have become.

For centuries, dancers have been counting their steps to 4, 6 or 8. But what if dancers were to count to infinity? Boris Charmatz: ‘I have always hated counting while dancing. In this piece, we count, speak and sing not only so that we can dance, but first and foremost, so that our minds can wander even more.’ In a world that is being increasingly enslaved by algorithms, Charmatz offers a moment of infinity.

People with physical disabilities are often more associated with stationariness than with movement. In Every Body Electric, Doris Uhlich refutes this idea with vitality and vibrancy. You can expect a fascinating dialogue between the human and the mechanical in which very personal dance styles vary from explosive to gently poetic.

The title The Goldberg Variations not only evokes the famous music of Bach, but also the iconic dance solo by Steve Paxton. Along with a dancer, a ballet dancer, and an accordionist, Michiel Vandevelde works with this material. Three bodies, each with very different potentialities, delve into dance history and question the potential of dance today.

Tafukt/The Sun/Athena is a dance solo and the first part of a trilogy focused on epistemologies and mythologies of the Tamazigh – the indigenous population of Northern Africa. How can we challenge the current canon? Can performance function as a tool of resistance? Radouan Mriziga seeks to create a space for reflections on the past in order to strive for a more inclusive future.

Daniel Linehan creates a choreography in which the lighting, the scenography, the costumes, the movement, and the music each dominate the stage in turn, and then fade to make space for the others. This constant cycle of emergence and disappearance creates an interplay in which unnoticed elements suddenly demand your attention, eliciting unsuspected moments of wonder.

Celestial Sorrow is Meg Stuart’s first collaboration with the Indonesian visual artist Jompet Kuswidananto. Based in collective memories and fictitious traumas, the duo create a world of light and movement that is inhabited by three performers and two musicians. The show premiered at the Kaaistudios in 2018 and is moving to the main stage of Kaaitheater for this reprise.